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[modern classical, experimental, ambient] Rob Ellis - 2000 - Music For The Home (FLAC, Leaf 15)

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Torrent File Content (32 files)

Description

Music : Other : Lossless
      

Leaf
Records BAY 15CD.

1. Out Of It

15/11/95, Six Pieces For Fake Instruments
2. i. At 2
B.P.M.
3. ii. Jerky
4. iii. Fast Forward
5. iv. Dreaming
6. v. Round
7. vi. Starry Sky

8. American Dream For Three Pianos
9. Copy!
10. Music For The Home No. 1 *After Dinner I Accompanied My Wife
In A Little Entertainment For Our Guests...*

Music For The Home No. 2 Bedtime Story - Three Little Pigs
11. i. Hog The Impaler
12. ii. Pinky The Dreamer
13. iii. Squealer The Con

14. Music For The Home
No. 3 Unreasonable Behaviour In The Nursery
15. Hang-Up No. 3
16. Toward Dust Spiral Section

Symphonies Of Wind-Up Instruments (Three Movements For Imaginary Music Boxes)
17. i. Lilliput 2000
18. ii.
Chrondine
19. iii. Parade In Your Palm

20. Arctic Crossing
21. Cedez

All music written,
arranged, played & programmed by Rob Ellis except for 1. on which Michael Partington plays an extract
from Benjamin Britten's Nocturnal after John Dowland by kind permission of the Britten Estate, Faber Music &
Rosewood Recordings
Cello on 21. was played by Chas Dickie

Most of the recording was engineered
by Head with some additional engineering by Guy Fixsen & Rob Ellis

Design: v23
Photography: Martin
Andersen/v23
Hand-model: Lee Widdows/v23

Mastered at Loud

On this strength of this highly
idiosyncratic and non-commercial album of treated keyboard pieces, it's hard to believe that Rob Ellis' most
high-profile gig has been as producer, arranger, percussionist, and sometimes keyboardist for alt-rock heavyweight PJ
Harvey. These incidental pieces for keyboards and electronics, recorded between 1994 and 1999, are personal and
relatively esoteric studio explorations. Although Ellis is modest about his self-taught status as an "amateur"
pianist, he more than makes up for it with his studio wizardry and compositional creativity. An admitted admirer of
early 20th century classical composers such as Satie, Debussy, and Messiaen, all of whom wrote extensively for
keyboards, Ellis is also influenced by more recent composers such as John Cage and Steve Reich. Many of the pieces on
this CD exhibit a whimsy highly reminiscent of Satie, with titles such as "Music for the Home No. 2: Bedtime Story
-- Three Little Pigs," which is subdivided into "Hog the Impaler," "Pinky the Dreamer," and
"Squealer the Con." The next piece, "Music for the Home No. 3" (subtitled "Unreasonable
Behavior in the Nursery"), consists of footsteps intermingled with the sound of one, two, three, four, and five
music boxes being wound, until the "nursery" is filled with the din of dueling music boxes. But there's much
more to Ellis that funny song titles and cute music jokes. "Six Pieces for Fake Instruments" is an electronic
equivalent of the prepared piano first introduced by John Cage, and it contains a variety of lovely textures and timbres
associated with marimba, xylophone, vibraphone, celeste, chimes, cathedral organs, glockenspiel, and such.
"Ellis" also utilizes a "hyper-piano" sound, i.e., inhumanly fast trills and runs on what sounds
like a normal piano, which suggests an updated, electronic version of Conlon Nancarrow's pioneering work with
manipulated player-piano rolls. Satie's whimsy and Cage's maverick experimentation may be obvious influences, but the
overriding influence, as Ellis himself freely admits, is the iconoclastic work of 20th century French composer Messiaen,
a deeply spiritual artist who charted his own musical course and was preoccupied throughout his life with the musical
representation of beauty. Not surprisingly, then, Ellis' program also contains a generous measure of beauty and gravity;
"American Dream for Three Pianos" is an elegant, pensive piece with a haunting use of descending scales.
"Hang-Up No. 3" and "Cedez" (the latter with a second voice supplied by cello) are also serious,
thoughtful pieces with strong appeal. Another series, "Symphonies of Wind-Up Instruments (Three Movements for
Imaginary Music Boxes)" combines whimsy with dazzling effects (including more of the hyper-piano), and
recapitulates the fascination that music boxes (generally known as "mechanical clocks") had for major 18th
century composers such as Beethoven, Haydn, and Mozart, all of whom composed for them. Ellis also includes two longer,
more modern electronic pieces on this CD, both of which owe a debt to "difficult" modern composers such as
Xenakis and Ligeti; one piece, "Toward a Dust Spiral Section," was composed using a complex mathematical
model, and the other, "Arctic Crossing," effectively captures the majesty and mystery of the arctic landscape
through the use of shimmering drones, eerie whistling wails, and cavernous reverberations. At over eight minutes long,
this idiosyncratic piece certainly stretches the boundaries of the CD's musical landscape, but it also contributes even
further to the richness of what is already a very impressive and diverse program. - William Tilland, AMG                                                            Show Demonoid some love
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